Sean O'Brien – författare

'He's one of the best players I've ever played with. As a forward, I'd say he's the best.' Johnny SextonSeán O'Brien does not come from a traditional rugby background. He grew up on a farm in Tullow, far from the rugby hotbeds of Limerick and Cork or the fee-paying schools of Dublin. But as he made his way up through the ranks, it soon became clear that he was a very special player and a very special personality. Now, Seán O'Brien tells the remarkable and unlikely story of his rise to the highest levels of world rugby, and of a decade of success with Leinster, Ireland and the British and Irish Lions.

This is the story of a civil war within the Civil War. Many mountain whites in Southern Appalachia opposed the Confederacy, especially when the South's conscription and impressment policies began to cause severe hardships. Deserters from the Rebel army hid in the mountains and formed guerrilla bands that terrorized unprotected Confederate homesteads. Violence escalated as Rebel guerrillas fought back. The conflict soon took on some of the ugliest aspects of class warfare between poorer mountain whites, who were usually Unionists, and the more well-to-do mountain property owners, who supported the Rebels. Mountain Partisans penetrates the shadowy world of Union and Confederate guerrillas, describes their leaders and bloody activities, and explains their effect on the Civil War and the culture of Appalachia.Although it did not alter the outcome of the war, guerrilla conflict affected the way the war was fought. The Union army's experience with guerrilla warfare in the mountains influenced the North's adoption of hard war as a strategy used against the South in the last two years of the war and helped shape the army's attitude toward Southern civilians. Partisan warfare in Southern Appalachia left a legacy of self-imposed isolation and distrust of outsiders. Wartime hatreds contributed to a climate of feuds and extralegal vigilantism. The mountain economy never recovered from the war's devastating effects, laying the groundwork for the region's exploitation and impoverishment by outside corporations in the early 20th century.

The last major battle of the Civil War at Fort Blakely, Alabama, on April 9, 1865, was quickly overshadowed by the concurrent surrender of Robert E. Lee's army at Appomattox, and is largely forgotten today. And yet the Federal campaign against Mobile, the last important Southern city that remained in Rebel hands, was a significant military operation involving 45,000 Union soldiers and 9,000 Confederates. Faced with overwhelming odds, diehard Rebels refused to surrender, and--even with the end of the war clearly at hand--Federal soldiers remained willing to fight and die to capture the last enemy stronghold. O'Brien explores the battle and the driving forces behind it in the first comprehensive treatment of the campaign in over 130 years.The Mobile campaign sheds light on the workings of unit cohesion in the closing days of the war--a bond of loyalty forged by four years of hardships, with soldiers no longer fighting just for country or cause but for their own band of comrades. Black solders (ten percent of the Federal army in the Mobile campaign) were further motivated by another factor: to end slavery and to prove African Americans worthy of equality. Soldiers in this campaign faced the full fury of America's war-making science, with innovations like trench warfare, rifled artillery, land and naval mines, army-navy amphibious operations, submarines, and minesweeping operations--all new technologies to be perfected by a later generation in World War I.

The seldom-recalled Creek War of 1813-1814 and its extension, the First Seminole War of 1818, had significant consequences for the growth of the United States. Beginning as a civil war between Muscogee factions, the struggle escalated into a war between the Moscogees and the United States after insurgent Red Sticks massacred over 250 whites and mixed-bloods at Fort Mims on the Alabama River on August 30, 1813—the worst frontier massacre in U.S. history. After seven months of bloody fighting, U.S. forces inflicted a devastating defeat on the Red Sticks at Horseshoe Bend on the Tallapoosa River on March 27, 1814—the most disastrous defeat ever suffered by Native Americans.The defeat of the Muscogees (Creeks), the only serious impediments to U.S. westward expansion, opened millions of acres of land to the white settlers and firmly established the Cotton Kingdom and slavery in the Deep South. For southeastern Native Americans, the war resulted in the destruction of their civilization and forced removal west of the Mississippi: The Trail of Tears. O'Brien presents both the American and Native American perspectives of this important chapter of U.S. history. He also examines the roles of the neighboring tribes and African Americans who lived in the Muscogee nation.

While Downriver contains the English urban pastoral and hymns to the Northern deities for which Sean O’Brien is justly celebrated, the poet has always been more a singer than even his many admirers have sometimes conceded: here, that lyric note is sounded more openly than ever before.With Downriver, his fifth collection, O’Brien has produced his most various and mature work yet. This is a poetry of both delicacy and gravity, assuagement as well as agitation, rivers that start in hell but later fall as rain – and will only strengthen his reputation as one of the most gifted English poets at work today.

Sean O’Brien is widely acknowledged as one of the most gifted English poets now writing, and as a leading poet-critic. Cousin Coat collects the best of O’Brien’s work to date; long-time O’Brien aficionados will be grateful to have so much of the early work available again, while recent converts will be delighted to find that O’Brien’s boisterous wit, intelligence and astonishing technical fluency were as much in evidence at the outset of his career as they are now.While some of O’Brien’s mises en scène and dramatis personae have remained constant over the years – the urban dystopia, the train, the rain, the underground, the canal, the lugubrious procession of conductors, policemen, head teachers and detectives – their shadows have deepened with O’Brien’s sense of their historicity and mythic power. His imaginative landscape has become impressively varied: as well as blackly paranoid fantasy and scabrous political critique, O’Brien’s work now encompasses English pastoral, comic set-piece and metaphysical lyric, and shows a growing fascination with song-form and dramatic verse. Cousin Coat represents the best introduction to one of the most significant English poets of the last thirty years.‘The bard of urban Britain’ The Times‘A collection which holds numerous satisfactions for anyone with a sense of humour and a political consciousness’ Guardian on Ghost Train‘The most invigorating new book of poems I’ve read this year’ Sunday Telegraph on Downriver

The seventies. Summer. Four students in a cottage in the middle of nowhere. Two young American women, one hell-bent on destruction. Alcohol, LSD, sex, jealousy, infidelity and poetry.At the end of the summer, one of the four students will be dead, and another will be destroyed by his inability to let go of past memories, guilt and bitterness.‘A cracker’ Evening Standard‘Chills to the bone’ Independent on Sunday‘Rich and powerful’ Daily Mail‘Afterlife positively throbs with loss . . . It’s a deeply absorbing novel that lingers in the mind like the ghosts it so ardently evokes’ Claire Kilroy Irish Times‘A richly rewarding portrait of friendships under siege, full of vibrant characters and atmospheres that linger in the mind and the heart’ Sunday Telegraph

November is Sean O’Brien’s first collection since his widely celebrated The Drowned Book, the only book of poetry to have won both the Forward and T. S. Eliot prizes. November is haunted by the missing, the missed, the vanished, the uncounted, and the uncountable lost: lost sleep, connections, muses, books, the ghosts and gardens of childhood. Ultimately, these lead the poet to contemplate the most troubling absences: O’Brien’s elegies for his parents and friends form the heart of this book, and are the source of its pervasive note of départ. Elsewhere – as if a French window stood open to an English room – the islands, canals, railway stations and undergrounds of O’Brien’s landscape are swept by a strikingly Gallic air. This new note lends O’Brien’s recent poems a reinvigorated sense of the imaginative possible: November shows O’Brien at the height of his powers, with his intellect and imagination as gratifyingly restless as ever.

Stephen Maxwell has just retired from a lifetime spent teaching history at his alma mater. As he writes the official history of Blake's, a minor public school steeped in military tradition, he also reveals how, forty years ago, a secret conflict dating from the Second World War re-enacted itself among staff and pupils, when fascism once more made its presence felt in the school and the city, with violent and nightmarish results.

A contemporary adaptation of The Birds by an award-winning poet, published to tie in with a major production at the National Theatre directed by Kathryn Hunter Pez and Eck are on the hunt for the perfect society in "a city where free men might live like birds". But when they start building the bird city for real, Pez starts to have ambitions - which seem not a million miles away from dictatorship. As the fantasy utopia threatens to turn into a tyranny the birds start to rebel. Sean O'Brien's new verse version brings Aristophanes' devastatingly ironic comment on human ambition bang up-to-date and is brimful of jokes ancient and modern.This adaptation by the winner of the Forward Prize for Poetry of Aristophanes' classic comedy is published to coincide with the National Theatre production and tour in 2002.

Published to tie in with the legendary Live Theatre's thirtieth birthday celebrations Spanning three generations, Live Theatre is a celebration of the finest playwrights from the North East. In The Filleting Machine (Tom Hadaway), a fishing family's way of life faces extinction; in You Are My Heart's Delight (C.P. Taylor), the lights are switched out in the house of a gamekeeper and his sister who have resisted change for years; Shooting the Legend (Alan Plater) is a comedy of cultural errors in which two women prepare to make a documentary about the 'socially deprived' of Gateshead; in Wittgenstein on Tyne (Lee Hall), Wittgenstein is caught red-handed when working as a hospital porter on Tyneside; Laughter When We're Dead (Sean O'Brien) is a modern revenge tragedy set around the politics of old versus new labour while Cold Calling (Julia Darling) is a dark comedy about a door-to-door salesman.

A brilliant new thriller about poetry and fascism In the 1930s a young poet and patriot, Richard Jameson falls in love with the socialist daughter of Sir Henry Exton, a powerful media mogul. But in courting her, he finds himself embroiled in a fascist struggle for influence over the heart of the establishment. After Thatcher sweeps to victory during the 1980s, Jameson is on the verge of being rescued from obscurity, but finds the ghosts of his fascist past have not been laid to rest. Sean O'Brien's new play dramatises the literary history and politics of the 1930s and 1980s and asks chilling questions about the historical possibility of a fascist Britain.

In this series, a contemporary poet selects and introduces a poet of the past. By their choice of poems and by the personal and critical reactions they express in their prefaces, the editors offer insights into their own work as well as providing an accessible and passionate introduction to some of the greatest poets of our literature.Andrew Marvell was born in Yorkshire in 1624 and was educated in Hull and Cambridge. He became the unofficial laureate to Cromwell and in 1657 he took over from Milton as the Latin Secretary to the Council of State. Famed as a satirist during his lifetime Marvell was a virtually unknown lyric poet until rediscovered in the nineteenth century. However, it was only after the First World War that his poetry gained popularity thanks to the efforts of T. S. Eliot and Sir Herbert Grierson. Marvell died in 1678.

'This is the night mail crossing the border,Bringing the cheque and the postal order...' -- W.H. AudenWordsworth was the first laureate of locomotives: in fact he railed against them, and against the consequent opening up of the Lakes to holiday hordes ('On the Projected Kendal and Windermere Railway'). His dismay was echoed down the decades by disturbed ruralists, and yet the train has become part of our psychic landscape: some of the best-loved English poems - Edward Thomas's 'Adlestrop', or Philip Larkin's 'Whitsun Weddings' - have celebrated carriages, platforms and waiting rooms, while locomotion has inspired some of the most characteristic poetry of Dante Gabriel Rossetti and Stevenson, Hardy and MacNeice, Betjeman and Auden (whose 'Night Mail' was written to accompany a 1930s GPO documentary about the postal express from Euston to Glasgow).Co-edited by two of our most distinguished poets, Train Songs offers a round tour - from Wordsworth to Hugo Williams and beyond - starting from the poetry of departures and brief encounters, but taking in the American Blues, the troop trains of two world wars, and the addiction to speed which characterised the European revolutions. Trains have carried the freight of history from the Industrial Revolution onwards - the Armstice in 1918 was signed in a railway carriage, the death camps were organised around train timetables - and this new anthology shows how the train in all its forms has exercised a unique hold upon our collective unconscious.

The 1990s were a cultural watershed, marking a turning point in popular music, television, cinema, literature and fashion. Nestled between the fall of the Berlin Wall and the 9/11 attacks, the decade witnessed the 'end of history' and the birth of the internet, the consolidation of neoliberalism, and a political urgency embodied by the anti-globalisation movement. Now in the rearview mirror, this pivotal decade appears as a time to be reckoned with, its history yet to be written, and we have only begun to come to terms with its lasting significance.This anthology dives into the contemporary fascination with the '90s. Plotting a playful course between sociology and cultural studies on the one hand, and giddy nostalgia on the other, the book charts decisive developments of the decade to fully apprehend its resonances today.Covering everything from 'girl power,' Star Trek and hip-hop, to queer cinema, anarchist counterculture and the erotic thriller, The Return of the '90s excavates key moments in '90s culture and uncovers its multiple reckonings in the present.

The preoccupations of Sean O’Brien’s work have for many of us become newly pressing: the recurrence of history, the shadow of war, the precariousness of a peacetime that can no longer be taken for granted. The Bonfire Party, Forward Prize winner Sean O’Brien’s twelfth poetry collection, takes its title from Eric Ravilious’s 1930s painting, where some revellers watch the flames, while others feed them or run towards them, in a scene of ‘mythic Englishness’. In these poems, the long view afforded by experience results in a truer representation of our predicament and a regretful understanding of human culpability.Just as times and places flow together to create a shifting, at times visionary perspective, so too do the presences of those we have lost, ‘love and death consorting as they must’. In a central sequence – a departure for O’Brien – he writes into the rich imaginative climate of George Simenon’s Maigret novels. These poems, both ‘homage and transposition’, effect a poetic communion of sorts with the physical world and moral atmospheres encountered by the inscrutable detective and his creator.The working of the imagination itself has become O’Brien’s true subject, where the fact of the world and the imagined order of literature and art begin to merge.

The preoccupations of Sean O’Brien’s work have for many of us become newly pressing: the recurrence of history, the shadow of war, the precariousness of a peacetime that can no longer be taken for granted. The Bonfire Party, Forward Prize winner Sean O’Brien’s twelfth poetry collection, takes its title from Eric Ravilious’s 1930s painting, where some revellers watch the flames, while others feed them or run towards them, in a scene of ‘mythic Englishness’. In these poems, the long view afforded by experience results in a truer representation of our predicament and a regretful understanding of human culpability.Just as times and places flow together to create a shifting, at times visionary perspective, so too do the presences of those we have lost, ‘love and death consorting as they must’. In a central sequence – a departure for O’Brien – he writes into the rich imaginative climate of George Simenon’s Maigret novels. These poems, both ‘homage and transposition’, effect a poetic communion of sorts with the physical world and moral atmospheres encountered by the inscrutable detective and his creator.The working of the imagination itself has become O’Brien’s true subject, where the fact of the world and the imagined order of literature and art begin to merge.

Marissa and Clara’s mom is the newly elected president of the United States and they haven’t experienced much freedom lately. While exploring the White House they discover a hidden tunnel that leads to an underground clubhouse full of antique curiosities, doors heading in all directions—and a mysterious invitation to join the ranks of White House kids. So they sign the pledge.Suddenly, the lights go out and Marissa and Clara find themselves at the White House in 1903. There they meet Quentin, Ethel, Archie and Alice, the irrepressible children of President Theodore Roosevelt. To get back home, Marissa and Clara must team up with the Roosevelt children “to help the president” and “to make a difference”.White House Clubhouse is a thrilling and hilarious adventure that takes readers on an action-packed, cross-country railroad trip, back to the dawn of the twentieth century and the larger-than-life president at the country’s helm.

When the clubhouse fills with smoke, Marissa and Clara Suarez escape through one of its doors—and find themselves in James Madison’s presidency, with the White House and capital city set on fire by invading British troops! With an iconic portrait of George Washington in hand, they race through the countryside as the War of 1812 rages all around them. Over rough roads, on sailing ships, and on the ramparts of Baltimore's Fort McHenry, Marissa and Clara help save a young nation (and play a part in writing “The Star-Spangled Banner”) while confronting the contradictions that challenge what it means to be free.Funny, fast-paced, and filled with wholesome adventure, White House on Fire! continues Sean O’Brien’s exciting middle grade series that “masterfully weaves together history, adventure, and purpose” (Ruby Shamir).

White House kids Clara and Marissa Suarez find themselves on the hunt for a stolen eagle sculpture and on the front lines of the labour movement in this noir-style mystery that takes them through the streets of Great Depression–era Washington, DC. Along with Roosevelt grandchildren Buzzie and Sistie, the chase takes Clara and Marissa from the factory floor to the skies with Amelia Earhart, through encounters with historical figures—and keeps readers guessing up to its dramatic end on a river cruise with Franklin and Eleanor.Funny, fast-paced and filled with action, White House Mystery continues Sean O’Brien’s exciting series that “masterfully weaves together history, adventure and purpose” (Ruby Shamir).

Marissa and Clara’s mom is the newly elected president of the United States, and they haven’t experienced much freedom lately. While exploring the White House they discover a hidden tunnel that leads to an underground clubhouse full of antique curiosities, doors heading in all directions—and a mysterious invitation to join the ranks of White House kids. So they sign the pledge.Suddenly, the lights go out, and Marissa and Clara find themselves at the White House in 1903. There they meet Quentin, Ethel, Archie, and Alice, the irrepressible children of President Theodore Roosevelt. To get back home, Marissa and Clara must team up with the Roosevelt kids “to help the president” and “to make a difference.”White House Clubhouse is a thrilling and hilarious adventure that takes readers on an action-packed, cross-country railroad trip, back to the dawn of the twentieth century and the larger-than-life president at the country’s helm.

When the clubhouse fills with smoke, Marissa and Clara Suarez escape through one of its doors—and find themselves in James Madison’s presidency, with the White House and capital city set on fire by invading British troops! With an iconic portrait of George Washington in hand, they race through the countryside as the War of 1812 rages all around them. Over rough roads, on sailing ships and on the ramparts of Baltimore's Fort McHenry, Marissa and Clara help save a young nation (and play a part in writing “The Star-Spangled Banner”) while confronting the contradictions that challenge what it means to be free.Funny, fast-paced and filled with wholesome adventure, White House on Fire! continues Sean O’Brien’s exciting middle grade series that “masterfully weaves together history, adventure, and purpose” (Ruby Shamir).

White House kids Clara and Marissa Suarez find themselves on the hunt for a stolen eagle sculpture and on the front lines of the labour movement in this noir-style mystery that takes them through the streets of Great Depression–era Washington, DC. Along with Roosevelt grandchildren Buzzie and Sistie, the chase takes Clara and Marissa from the factory floor to the skies with Amelia Earhart, through encounters with historical figures–and keeps readers guessing up to its dramatic end on a river cruise with Franklin and Eleanor.Funny, fast-paced and filled with action, White House Mystery continues Sean O’Brien’s exciting middle grade series that “masterfully weaves together history, adventure, and purpose” (Ruby Shamir).

While Downriver contains the English urban pastoral and hymns to the Northern deities for which Sean O’Brien is justly celebrated, the poet has always been more a singer than even his many admirers have sometimes conceded: here, that lyric note is sounded more openly than ever before.With Downriver, his fifth collection, O’Brien has produced his most various and mature work yet. This is a poetry of both delicacy and gravity, assuagement as well as agitation, rivers that start in hell but later fall as rain – and will only strengthen his reputation as one of the most gifted English poets at work today.

This collection, drawing on almost forty years of verse, represents the definitive guide to one of the leading English poets working today. It will allow the reader the chance to survey both the remarkable variety and the consistent quality of O’Brien’s work, as well as the enduring strength of his obsessions: these have helped create a tone and a landscape as immediately recognizable as those of MacNeice, Larkin or Eliot. O’Brien’s hells and heavens, underworlds and urban dystopias, trains and waterways have formed the imaginative theatre for his songs, satires, pastorals and elegies; throughout, the poems demonstrate O’Brien’s astonishing flair for the dramatic line, where he has inherited the mantle of W. H. Auden. Also included are selections from both O’Brien’s dramatic writing and his acclaimed version of the Inferno.